A Campy, Quirky, Delightful Emotional Rollercoaster Ride That Will Delight

Madame Martha's Parisian Cabaret

Madame Martha’s Parisian Cabaret Rating

★★★★★

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Madame Martha’s Parisian Cabaret is a campy, quirky, delightful emotional roller-coaster ride, that will hit you in all of the feels, over a truly captivating hour of queer joy.

What better place for my first theatre review than my beloved Old Fitz, which I fell in love with with “Cut Chilli”, and have since frequented as a viewer, and even performed in their “Senseless & Fitz” Shakespeare night. The vibe is funky and atmospheric. The bartender very accommodating of requests for a “lemonade top up” when I realised that Negronis may look cool, but taste rather vile.

The welcome is warm as we enter the theatre. The set is very much in line with Parisian cabaret. Deep burgundies and mixed glass lampshades, doorways adorned with “show lights”. I sit in the second row, knowing all spots in this delightfully intimate theatre are a winner.

Then our beautiful trio enter; graceful, careful, flowing and enchanting as they fill they space with their bodies and soon their harmonic voices. With Meg Hickey having absolutely no limits to what can be achieved with those vocal pipes… and an accordion to boot. Their costumes are gorgeous and each artist moves with their own unique elegance as they dance and sing a rendition of “Bad Guy”.

It becomes clear their physical freedom, poetic exploration and musical gifts feed off the shared talent of the trio and their reverie is only broken by the omnipresent, fearsome watchful eye of “Madame Martha”.

The choreography is stunning. Every movement is full-bodied and intentional. There is a collective heart between this troupe that keeps you captivated, entranced and SAFE as deep themes are tackled through the many facets and layers of “cabaret” with a touch of Vaudeville. Be prepared for tits and tips (well, more than that, but I couldn’t resist the alliteration). The actors bare themselves both literally and figuratively on the stage with full abandon and celebration of their forms.

My eyes filled with tears as Iva Rosebud delivered a deeply moving “What Makes A Man A Man” taking us on a heartfelt musical journey.

Jens Radda is giving “Mother” energy and keeping the three of them connected and intertwined throughout.

The crowd favourite was clearly the extraordinary “Pink Pony Club” where the harmonies slayed, and the audience were ready and rearing when it became clear we could now sing and clap along.

This show lets you all the way in and touches you in deep places. It was a delight!

To book tickets to Madame Martha’s Parisian Cabaret, please visit https://www.oldfitztheatre.com.au/madame-marthas.

Photographer: Solitude & Co

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Mary Jane – A Quietly Devastating Portrait Of Love And Resilience

Mary Jane

Mary Jane Rating

★★★★★

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Written by Amy Herzog | Directed by Rachel Chant | Presented by Mi Todo Productions at the Old Fitz Theatre

In Mary Jane, director Rachel Chant and playwright Amy Herzog deliver a moving, understated, and profoundly compassionate story. Set in New York, the play follows the life of Mary Jane, a single mother caring for her chronically ill son, Alex. With remarkable grace, humour, and resilience, she faces a cascade of challenges – yet never loses her grip on hope.

Eloise Snape brings quiet power and emotional authenticity to the role of Mary Jane. Her performance is restrained yet deeply affecting, anchoring the production with a sense of dignity and realness that never veers into sentimentality. Through her, the audience is drawn into a series of poignant, often heartbreaking moments.

Alex, born extremely premature, requires round-the-clock care. Mary Jane’s world is shaped by hospital visits, shifting diagnoses, and a rotating cast of support figures. Much of the play’s strength comes from the ensemble cast – Sophie Bloom (Hensser), Janine Watson, Di Adams, and Isabel Burton – who deftly inhabit multiple roles, from friends and neighbours to nurses and chaplains. Their seamless transformations mirror the changing stages of Mary Jane’s life and underscore the idea that help often arrives in different forms.

The fluidity of the staging – shifting from Mary Jane’s modest apartment to hospital waiting rooms and children’s wards – is handled with quiet elegance, thanks to production designer Soham Apte and stage manager Matilda Holton. Lighting design by Izzy Morrissey and Luna Ng, along with Clare Hennessy’s subtle musical cues, help shift tone and place without disrupting the flow.

The American accents, coached by Linda Nicholls-Gidley, were well executed across the cast – an impressive feat for an all-Australian ensemble. Director Rachel Chant handles the material with a light yet sure hand, allowing the play’s emotional weight to emerge organically, without melodrama.

Originally described by The New York Times as “the most profound and harrowing of Ms Herzog’s many fine plays,” Mary Jane is slow-burning and gentle, but never dull. It holds the audience with quiet force, unfolding with empathy and depth. It’s no surprise the work was nominated for four Tony Awards, including Best Play.

Presented by Mid Todo Productions and executive producer Chad Traupmann, this production of Mary Jane offers a rich, affecting night at the theatre. On now until 15 June at the Old Fitz Theatre, it’s the kind of intimate, beautifully crafted play that lingers long after the final scene. And yes – the pub upstairs does excellent food and drinks, making it a perfect evening out.

To book tickets to Mary Jane, please visit https://www.oldfitztheatre.com.au/book-now.

Photography: Phil Erbacher

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The Anarchy 1138-53

The Anarchy 1138-53 Rating

★★★★★

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3

The Anarchy 1138-53, presented in KXT on Broadway, is like walking into a narrated RPG walkthrough that spans levels of anarchy, death and destruction!

The stage is a mirrored walkway where the mirror is at once a reflection in water as you travel through the oceans on an imaginary boat before becoming the beach where you are shipwrecked, as enemies swoop in, dragons fly and various characters aim to destroy you.

The imaginary RPG campaign you find yourself in is set in Britain, or another dystopia where anarchy prevails and suffering is a plenty – this is the ‘Crossworlds Universe’, narrated by two hyper-verbal guides whose stamina is as relentless as their script.

While in regular theatre productions the actors play out the scenes, in this play it is mostly just narrated, with moments of re-enactment and audience interaction being a much needed respite from the tyranny of the spoken words that flow out of both actors at astronomical speed.

As the story progresses you from the ‘tutorial’ and through the myriad of ‘levels’, it becomes one level too many, and this 135 minute no interval play, begins to resemble a notoriously long boss fight—technically impressive but emotionally numbing.

Though the dark, punk world the play creates is intriguing and the production is inventive and daring, the overall experience is somewhat languished and the script feels a little too self indulgent.

Sometimes some levels are best left sans walkthrough, for the gamer to navigate, even if that means dying and respawning a few times.

To book tickets to The Anarchy 1138-53, please visit https://events.humanitix.com/the-anarchy-1138-53.

Photographer: Skye Gellman

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Chicago: Tall & Short Theatre Co

Chicago

Chicago Rating

★★★★★

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4

This production of Chicago by Tall and Short Theatre Co delivers the show’s signature sharp cynicism with an especially bold edge, amplified by a small, versatile cast playing multiple roles as well as minimal costumes and set. These choices not only showcases the actors’ range but also deepens the show’s inherent themes of duplicity and moral ambiguity, underscoring the story’s cynical view of fame, justice, and human nature.

Michael Astill’s portrayal of Billy Flynn is a highlight, delightfully sleazy and utterly captivating. His numbers sparkle, particularly the brilliantly coordinated and high-energy “We Both Reached for the Gun” with Katie Wallis as Roxie. Astill’s commanding presence during the trial scene truly owns the stage, driving the drama with a magnetic intensity that resonated strongly with the audience.

Katie Vials shines with her singing, especially in “Roxie” and “Funny Honey,” bringing depth and nuance to her roles. Amelia Smith’s quiet tragedy as Hunyak adds a poignant contrast, while Willow Twine’s bold and wild energy as Velma injects thrilling dynamism into the dance sequences.

Elizabeth Ellis gives a memorable performance as Matron Mama Morton, skillfully capturing the character’s dual nature. On one hand, Morton is as calculating and transactional as Billy Flynn. But Ellis also brings genuine warmth to her interactions with Velma and, most touchingly, with Hunyak—moments that suggest real affection and loyalty beneath the surface. It’s the duet Class with Velma that truly reveals the character’s vulnerability.

Nathaniel Lawson brings a gentle sincerity to the role of Amos Hart, providing a much-needed emotional anchor amidst the show’s swirling satire. Apparently playing against type, Lawson’s portrayal is refreshingly understated, allowing Amos’s quiet dignity and hurt to shine through. His rendition of Mister Cellophane is performed with real heart — not played for laughs, but as a sincere, aching moment of loneliness and invisibility.

The choreography is exceptional — not only skillful and vibrant but notably inclusive, featuring Liam Liff performing in a wheelchair, marking a powerful and inspiring first for this production. The ensemble’s tight coordination and spirited movement bring the show’s biting satire to life.

Overall, Tall and Short Theatre Co’s Chicago is a compelling, razor-sharp musical experience that balances cynicism and spectacle, buoyed by standout performances and inventive staging.

To book tickets to Chicago, please visit https://www.tstheatreco.com/productions/.

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